 Mezzotinis, Etchings 
Araings 
New Uork City Wivws 
Framed Etchings and Lngravings 


matily from Private Sources 


Ww 


The Anderson Art Galleries 
12 Cast 46th Street 
Pew work 


"t .e 


i] 


No. 909 


MEZZOTINTS 
ETCHINGS, NEW YORK VIEWS 


ETC. 


MAINLY FROM PRIVATE SOURCES 


-€ngrabings 
BY BARTOLOZZI, DREVET, EDELINCK, MASSON, NANTEUIL, ETC. 


Me330tints 
BY VALENTINE GREEN, REYNOLDS, YOUNG, MURPHY, WATSON, 
ETC., ETC. 


Paintings and Drawings 
BY ALBERT BIERSTADT, AND OTHERS 


Framed Etchings and Engrabings 


TO BE SOLD AT 


Che forty-sirth Street Galleries 


TUESDAY EVENING, MAY 16, 1911 


BEGINNING AT $.15 o’cLocKk 


On EXHIBITION FROM WEDNESDAY, May 10, 9.30 a.m. To 5.380 P.M. 


The Anderson Auction Company 


12 East 46TH STREET 


New Yor«K 


TELEPHONE, BRYANT 271 


ART AND MISCELLANEOUS. 


Conditions of Sale. 


1. All bids to be per Lot as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be re-sold, but the Auctioneer will use his judgment as to the 
good faith of all-claims and his decision shall be final. He also reserves 
the right to reject any fractional or nominal bid which in his judgment 
may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots pur- 
chased to be immediately resold. 

4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and. the remainder of 
the purckase money to be absolutely paid on or before delivery, in default 
of which the Anderson Auction Company will not be responsible if the 
lot or lots be lost, stolen, damaged, or destroyed, but they will be left at 
the sole risk of the purchaser, and subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition two or more days 
before the date of sale, for examination by intending purchasers, and the 
Anderson Auction Company will not be responsible for the correctness of 
the description, authenticity, genuineness, or for any defect or fault in or 
concerning any lot, and make no warranty whatever, but will sell each lot 
exactly as it is, without recourse. But upon receiving before the 
date of sale expert opinion in writing that any lot is not as represented, 
the Anderson Auction Company will use every effort to furnish proof to 
the contrary, and in default of such proof the lot will be sold subject to 
the declaration of the aforesaid expert, he being liable to the owner or 
owners thereof for damage or injury occasioned by such declaration. 

7. Terms Cash. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots as” 
remain uncleared after twenty-four hours from the conclusion of the sale, 
will be re-sold by either private or public sale at such time as the Ander- 
son Auction Company shall determine, without further notice, and if any 
deficiency arises from such re-sale it shall be made good by the defaulter 
at this sale together with all the expenses incurred thereby. This con- 
dition shall be without prejudice to the right of the Anderson Auction 
Company to enforce the contract with the buyer, without such re-sale. 

. The Anderson Auction Company will afford every facility for the 
employment of carriers and packers by the purchasers, but will not be 
responsible for any damage arising from the acts of such carriers and 
packers. 

THE ANDERSON AUCTION COMPANY, 
-12-East 46TH STREET, NEw YORK. 


Priced Copy of this Catalogue may be secured for 50c. 


te 
3 


No. 909 


Hilessotints 
Ctchings, New Pork wWiews, ete. 


MAINLY FROM 
PRIVATE SOURCES 


. ALBERTI (CHERUBIN). Five engravings after Cara- 


vaggio, etc. GALLE (C.), The Resurrection, after 
Rubens; MERIAN (M.), Two landscapes; GREUZE 
(J. B.), Six studies of heads, by Ingouf. (14) 


. ALDEGREVER. The Judgment of Solomon. B. 29; 


Susanna at the bath. B. 30; Susanna accused by 
the old men. B. 31. Late impressions. (3) 


. — The Father assassinating his son; The Rape, and 


two others. (4) 


. ALLEN (DAVID). Six aquatint engravings in brown 


of Italian scenes. Proofs. (6) 
* By the ‘‘ Scotch Hogarth.” 


. AMERICAN LANDSCAPES BY AMERICAN PAINT- 


ERS AND ENGRAVERS. A series of fifty beauti- 
ful steel engravings of the paintings of Wm. Hart, 
S. Colman, S. R. Gifford, A. B. Durand, J. F. Ken- 
sett and others, engraved by Hinshelwood, Beckwith, 
ete. All fine Proofs, a few signed by the painters. (32) 


6. —— Another lot, similar. (20) 
. AMERICAN VIEWS. Woodcut views of Albany, New 


York, Buffalo, ete. Mounted. (82) 


. ANSELIN (J. L.). Moliére reading Tartuffe to Ninon 


de ’Enclos. After Monsiau. Fotio. Open letter 
proof. 


. APOUX. Danseuses. Set of six etchings. Proofs. 


With the original wrappers. 


. AUDOUIN (P.). Henry IV, after Pourbus. () 
. AUDRAN (BENEDICT). J. B. Colbert, after Le- 


febvre. Folio. 


. AUDRAN (JEAN). Franciscus Robertus Secousse, in 


robes. After Rigaud. Folio. 


fy : 


14. 


\15. 
16. 


V1". 


18. 
19. 
20, 
1, 


22. 


23. 


fees 


26. 


ra 


28. 


29. 


, BALECHOUS (J.). 


after Van Loo; 
Coypel. Folio. 


Saint Genevieve as a shepherdess, 
Portrait of Carolus Rollin, after 


(2) 


BARON (B.). John, Count of Nassau, and Family, 


after Vandyck. 


Folio. 


* Fine old impression, duplicate from the Amsterdam Mu- 
seum, the collection of Prince William of Nassau. 


BARTOLOZZI (F.). 


Woman with a Vase, after 


Cipriani. Printed in red. Fine original impression. 


Io Clee LE OLIOs 


Psyche going to dress, after Cipriani. Printed in 


brown. Very beautiful original impression. 1786. 


4to. 


impression in brown. 


brown. 1786. 


4to. 


George IV as an archer, after Russell. Original 


1795. Folio. 


Lamia, after Cipriani. Original impression in 


* From the Ackermann collection, with stamp. 


— Children of Louis XVI (‘‘Il ne leur reste que 
lesperance ’), after Rigny; Landscape, with Venus, 


Cupids, ete. Folio. 


(2) 


—— Virgil reading his At‘neid, and, The Death of 
Alcestes. Both after Kauffman. Folio. (2) 


+—— Two allegorical subjects, printed in red. Folio. (2) 


The Death of Dido, after Cipriani; Love sleeping, 


after Sirani; First state of Correggio’s Holy Family 


with St. Jerome 


(rare). 


Folio. (3) 


Perimele. Drawn by Bartolozzi, engraved by 


Zaffonato. Printed in colors. 


— Marechal de Montmorency, Francis II, and Louys 
de Sainct Geloys, from the Holbein portraits; The 
Singing Lesson, after Guercino. (4) 


. — Lady Montegle; Fitz Williams, Earl of South- 


ampton. Both after Holbein, colored. Small folio. (2) 


Fame Stopping Time, after Cipriani; Vortigern 


and Rowena, by Delatre, after Hamilton; and 3 
others, miscellaneous. 


BASAN (F.), La femme rusée, after Bega; MOIETTE 
(P. E.), Le Geste Napolitain, after Greuze. Folio. (2) 


BAUSE (J. F.). Cupid whispering, after Guido, proof 
before all letters; Portraits of Caspar Richter, Prince 
Frederick of Holstein, 


Junius. (Folio. 


ler; Boehm; ete. 


(4) 
(14) 


4 


and Frederick Augustus 


Portraits of Von Werther, proof; oe Bigs 


; 
; 
E 
4 
: 
4 
5 


30. 


31. 


36. 


i. 


41. 


42. 


43. 


44, 


45. 


BEHAM (HANS SEBALD). The Apostles, set of 12; 
Hercules and Cerebus; and others by the same. 
Some late impressions. (16) 


BENOIST (G. P.). David and Bathsheba, fine proof 
before letters; The Burgomaster, after Ostade by 
Beauvarlet. Folio. (2) 


BISI (MICHEL). Venus and Cupid, after eats 
Very fine impression. Folio. 


. BOISSIEU (J. J. DE). Landscapes, after Raine, 


Original Etchings; ete. (19) 


. BONASONE (GIULIO), Satyrs and Silenus before 


King Midas, scarce; BINK (JACOB), Allegorical de- 
sign, 1529; DURER, The Cook, and Virgin with the 
monkey. (4) 


. BOUILLIARD (J.). Premier Age de l’Amour, and 


Punition de l’Amour, after Lagrenée. Folio. (2) 


BOUTET (HENRI). Types Parisiennes. Eight dry- 
points and etchings. Proofs, with the original wrap- 
pers. 4to. 


BOVI (M.) Jupiter and Dane, after Titian; Educa- 
tion, after Lavinia Countess Spencer. (2) 


) BRITISH VIEWS. Twenty-two aquatint views in 


Great Britain [by C. Dibdin]. Ca. 1800. Oblong 
folio. sewed in wrappers. 


. BROWN (J. G.). ‘‘ Professional Pride ’’ (Bootblack), 


PEN-AND-INK Drawing by J. G. Brown, signed. 


. BUNBURY (H. W.). Stipple engraving by Pettit, 


printed in colors: ascene from the story of Aladdin. 
4to. 1786. 
BURKE (EDMUND). Bust portrait engraved by Chap- 
man. Printed in colors. 
* Rare in colors. 


BURNET (JOHN), Christmas Eve; CHAMBERS, 
Raphael’s Mistress; EGAN, The Disputed Fare, mez- 
zotint; SMITH, Portrait of Hogarth; ete. (12) 


CALLOT (JACQUES). Le Combat 4 la Barriére a 
Nancy en 1627. Eight etchings (should be 10, lack- 
ing the first and third). (8) 


and 


four others by the same. (5) 


CARAN D’ACHE. Two Cartoons referring to Amer- 
ica (Spanish-American War). ORIGINAL DRAWINGS 
-IN COLOR by Caran D’Ache. (2) 


5 


Fd 53. 
“y 
; a 54 
» 
56. 
ee: 
eae sy 


46. 


47. 


48. 


49. 


50. 


dl. 


52. 


CARAVAGGIO. A Concert, eng. by Chambers, 
1764; RAPHAEL, Bearing Christ to the Tomb, en- 
graved by Felsing, proof; WxsT, Pylades and Ores- 
tes, engraved by Basire, 1771; ete. (17) 


CARMONA (M.S8.). Portrait of Boucher, after Roslin 
(Carmona’s Academy piece) ; Jacobo Edelheer, scarce 
old engraving; Mdlle. Mars as Betty, by Bertrand, in 
colors; ete. (8) 

CARPIONI, S. Anthony of Padua, engraved ca. 1660, 
B. 11; CARAT, A Hermit, engraved 1585; BREBIETTE, 
The Holy Family, after Veronese, engraved ca. 1600, 
from the Bourchier collection; and others. (10) 


CASANOVA (ANTOINE). Columbus Returning in 
Chains. Pen-and-ink sketches, being studies for the 
large etching. Signed ‘‘ Paris, 1887.” Folio. 


CHAPMAN (JOHN G.). Pifferari playing before the 
window of a house; A Monk at a monastery door; 
The Plain of Campania; Landscape with a monk and 
a donkey. Painted and engraved by Chapman. Fine 
India proofs. (4) 

* A presentation set from the painter, the cover having in- 
scribed ‘‘ With Mr. Chapman’s compts. Rome 8 Ap. 1854.” 
CHEREAU (F.). Portrait of Louis Pecour, after 

Tourniere; The Children’s, proof, unsigned. Folio. (2) 


CIVIL WAR. Grant and family, engraved by McRae; 
Gen. U.S. Grant, lithograph by T. Kelly, 1885; G. B. 
McClellan, engraved from a photograph; MeClellan on 
horseback, eng. by W. L. Ormsby; The Grand Army 
of the Potomac, lithograph by T. Kelly, 1865; and 
three Bird’s-Eye View War Maps (Virginia to the 
Gulf of Mexico). Folio. (8) 


CLAUDE LORRAINE. The Shipwreck. The Sea- 
port. Original etchings by the painter. (2) 


. CORIOLANUS (BART.), Chiaroscuro engraving after 


Guido; GOLTz1Us, The Temptation of 8. Anthony, A 
Military Officer, and portrait of Peter Forester; 
GOENUETTE, etching; and others miscellaneous. (13) 


CORREGGIO. Charity, by Soster, proof before letters; 
SCHULTZ, Roses et Boutons, printed in colors: DUBOIS- 
MENANT, The Goatherd, signed proof; VOGEL, Maria 
Magdalena, mezzotint, ete. (10). 


. CRUIKSHANK anp OTHERS; 5 plates from Dickens, 


ete., by Cruikshank; La Journée d’une Parisienne, 
by Gautier. 


. CUNEGO (D.). Frederick the Great. Full-length 


portrait after Cuningham. Mezzotint. Folio. 1786. 


. DACHERY. Pointes Séches. Nine dry-points. Proofs. 


With the original wrappers. 
6 


7 
; 
a 
: 
: 
4 


ai 
we 


59. 


aU. 


61. 
62. 


63. 


64. 
65. 


66. 


67, 


. — The Death of the Virgin. 


. EARLOM (RICHARD). 


. — Mezzotint. 


DAVID (F. A.). Henry IV. Full-length in armor. 
Open letter proof, 1816. 
DIANA SURPRISED BY ACTON, French line en- 


graving; and another engraving. Fine old impres- 
sions, but cut close. Folio. (2) 


DIETRICY. The Adoration of the Shepherds, Land- 
scapes and other etchings; Etchings by CALLOT, of 
the School of REMBRANDT, and other engravings and 
etchings. (82) 


DRAWINGS. The Baptism of Christ, old sepia draw- 
ing; Christ on the Cross, old red chalk drawing; 
Two drawings of Parisian street characters, by Ibels. 
(3) 

DREVET (PIERRE. 15). 
Rigaud. Folio. 


Samuel Bernard, after 


— Guillaume, Cardinal Dubois, after Rigaud. Folio. 


DREVET (PIERRE). Hyacinth Rigaud, after himself. 
Folio. 


DREVET (P.), Madonna and Child, after Correggio; 
BOLSWERT, Silenus drunk; BERVIC, Le Laocoon; 
BEAUVAIS, The Madonna enthroned, after Corregio; 
ete. (25) 


DRUMMOND OF HAWTHORNDEN, Mezzotint by 
Finlayson; HENRIETTA MARIA, old engraving 
(scarce); JAN DE WIT, mezzotint by Blooteling; 
PAULUS VON STETEN, by Lucas Kilian; RENE FREMIN, 
by Suruge. (5) 


. DURER (ALBRECHT). The Annunciation. From the 


Life of the Virgin. Latin text on back. 


The Visit of Mary to Martha. From the Life of 
the Virgin. Latin text on back. 


From the Life of the 


Latin text on back. 
Samson Killing the Lion; The Four Riders. Folio. 


Virgin. 


(2) 


Mezzotints. Marriage a-la- 
Mode, after Hogarth. Complete set of the six plates, 
with the descriptive text and wrapper. Folio. Lond. 
1800. 


* Very rare in this state. 


The Fig. After Rubens. Large folio. 


. —  Mezzotint. Meleager and Atalanta. After Ru- 
bens. Large folio. 

. — Mezzotint. The Singing Master. After Scalcken. 
Folio. 


7 


16. 


rave 


ter 
79. 


80. 


_4) 81. 


82. 
83. 
84. 


85. 


? 86. 


87. 
88. 


89. 
90. 


ne 


EARLY MASTERS. The Great Horse, by Wierix; 
The Day of Judgment, by H. Cock, after Breughel; 
Lueas van Leyden, The Passion, set of 14; Our Saviour 
and a Saint, by N. van Aelst; Gathering Manna, by 
Veneziano; Rest in Egypt, by Elizabeth Sirani; ete. 
(25) 

EDELINCK (GERARD). Carolus Le Brun, after Lar- 
gilliére. Large folio. Inlaid. 

— Robert Nanteuil. Engraved by Edelinck. 4to. 


ETCHINGS. Notre Dame de Bourges, by Brunet De- 
baines; L’Homme a la Canne, by Flameng, after 
Hals; Shillingford, by Arthur Ditchfield; Dordrecht, 
after Van Goyen; Etching by Lalanne in the manner 
of Claude; Les Deux Amis, after Lancret; The 
Arundel Family, after Rubens; ete. (68) 


FABER (I.). Mezzotint. Portrait of William Wol- 
laston. 4to. 


FRANKLIN (BENJAMIN). Bowles’s Moral Pictures; 


or, Poor Richard Illustrated, ete., by the late Dr. 
Benj. Franklin. Series of 25 vignettes on a folio 
sheet by Dighton (mounted). Pub. by Hayward & 
Co., Manchester [ca. 1800]. 


FRENCH ENGRAVERS. Le Charme de la Musique, 
by Chevillet; Gaspar Netscher, by David; Susannah 
at the Bath, by Porporati; ete. (10) 

—— Récreation Espagnole, by Danzel; Venus entering 
the Bath, by Michel; L’ Amour et Psyche, by Potrelle; 
Susannah at the Bath, by Simmoneau; ete. (10) 

—— Latona fuyant les persecutions de Junon, by Du- 
flos; Thetis et Achille, by Castel; Gaspar Netscher, 
by David; Le Repos de Diane, by Henriquez; ete. (10) 

— The Royal Wedding, by J. Luyken; Marie Louise 
d’Orléans, by de L’Armessin; Victor Hugo, etching 
by Rajon; Danze, by Benoist (cut down, damaged); 
and three French Lithographs. (7) 

FRYE (THOMAS). Mezzotints. Bust of a woman, 
with pearl necklace, and another similar. Engraved 
1762. Folio. (2) 

GAILLARD (R.). La Fécondité, after Boucher. Folio. 

GERMAN ENGRAVINGS. After Bode, Overbeck, 
Schwind, Lenbach, ete. Mostly proofs. (16) 

GERMAN LITHOGRAPH. Poplar Trees in Storm. 

GHISI (DIANA). Bacchus at Psyche’s Marriage Feast. 
Folio. 

—— Aspasia and Socrates, by Diana Ghisi; Venms and 
Adonis, by George Ghisi; ete. (5) 

8 ‘ 


4 
4 
; 


cS 92. 
ov 
AP, 93. 

et> 94. 
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pe O8 1 OB: 
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4 ey 
dae 96. 

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as 


729. 


GOLTZIUS (H.), The Market-woman, The Fates, ete. ; 
VISSCHER, The Garden of Eden, ete.; SADELER 
(AiGIDIuUS), Martyrdom of 8S. Sebastian; and other 
early engravings. (30) 

GOUDT (HEINRICH, COUNT). Etching, in the dark 
manner, of a rusticscene, after Elsheimer. 4to. 


GREEN (VALENTINE). Mezzotint. Creusa appear- 
ing to Aineas. Open letter proof. Folio. : 

Mezzotint. Sea-coast scene with two horses, after 
S. Gilpin. Folio. 

— Mezzotint. Epaminondas Wounded, after West. 
Large folio. 

— Mezzotint. The Marriage of S. Catharine, after 
Procaccini; The Virgin, Jesus, Elizabeth and John, 
after Willibert. 4to. (2) 


. GUIDO, Three children with a tray, original etching by 


the painter, B. 18; MAURICE & DETMOLD, The Fal- 
con, etching; EK. LORING PIERCE, Landscape, signed 
proof etching. (3) 

HADEN (SIR F. SEYMOUR). ‘Thames Ditton with a 
sail. Late impression without the inscription. 


. HEEMSKERK (MARTIN). Etchings: Christ bearing 


His Cross; The Resurrection. Rare. (2) 


. HELMAN (I. 8.). Le Marchand de Lunettes. After 


Le Prinee. Folio. 


. HOLLAR (W.). Dance of Peasants, after Teniers; 


Piazza in Conventgarden; Rhine Bridge at Strasburg; 
Spring; plate from the Dance of Death; Storm at 
Sea; portraits, etc. (21) 


. HUMBOLDT (ALEXANDER VON). _ Scientist and 


Traveller. Portrait, seated in the Cordilleras. Very 
fine proof before all letters. Folio. 


. JACQUE (CHARLES). Young woman bathing. In- 


DIA PROOF before the number. 


. — The Prodigal Son. INDIA PROOF. 
. — Landscape with a well; The pig-killer. Inpr1a 


PROOFS. (2) 

A Hamlet, INDIA PROOF; Portrait of J. J. Guif- 
frey (author of the catalogue of Jacque’s etchings). 
INDIA PROOF. (2) 


. JANAUSCHEK (FANNY). Noted Prima Donna, 


came to America. Portrait, by W. Jab. Folio. Fine 
India proof. 
. JAPANESE PRINTS. Various subjects by Toyokuni, 
-Kunisada, Kuniyoshi, ete. (12) 
9 


. JONES (J.). Mezzotint. William Strahan (friend and 
correspondent of Benjamin Franklin). After Rey- 
nolds. Folio. 


. — Mezzotint: Beatrice listening to Hero and Ursula. 


After Fuseli. Folio. 


. KENEKEL (J.). Catharina von Bore, wife of Martin 
Luther, after Cranach. Folio. 
* A rare mezzotint. 


. LANCRET. Summer, etched by Champollion. Proof. 


. LANGLOIS (JEAN). Father Placide at St. Helena. 
Line engraving. Proof. 4to. 


» 4 115. LAUNAY (N. DE). La Premiére Legon d’Amitie 


118 


119 


‘(126 
3 i) J ges 
bee ae Bs 


Fraternelle. After Aubry. Large folio. Portrait 
of Sebastien Le Clere (De Launay’s Academy piece). 
4to. (2) 


. LENFANT (J.), Rene de Merillac, in armor, after 
Ponchet, 1663; FALCK (JEREMIAH), Rupert Douglas 
(Scotch General under Gustavus Adolphus). (2) 


. LEUTZE (E.). The Original Crayon Drawing by this 
noted American Painter for his cartoon ‘‘ Westward 
Ho’ in the Capitol, Washington, representing two 
pioneers in hewing a path through a forest. Certi- 
fied by his daughter. Large folio, 21 x 304 in. 


. LEVASSEUR (J. C.). Death of Leonardo da Vinci, 
after Menageot, proof before letters; J. M. LEROUX, 
La Dame de Charité. India proof of the first state. 
Folio. (2) 

. LONDONIO. Gallery of Paintings in Europe, 17 folio 
plates, Milan, 1830; a volume of copper engravings 
by Pedro and others, and other art books. (6) 


» LOURY (LADISLAS). Suite de Pointes Séches. Seven 


dry points. Proofs. With the original wrappers. 


. LUCAS VON LEYDEN. The Milk-maid. B. 158. 
(Repaired in left corner.) 


: 122 S. Jerome, with the lion. B. 112. Duplicate 
)» 4 from the Kunst-Halle. Hamburg, with stamp. 
Dat — 123. MARC ANTONIO RAIMONDI. Mars, Venus and 
A ao Love. B. 345. Second State. 
b 124. MASSON (ANTOINE). Guillaume de Brisacier. 


125. 


After Mignard. 4to. Inlaid. 


* The famous ‘‘ Grey-haired man.” 


—— Henri de Lorraine, Comte d’Harcourt. After 
Mignard. Large folio. 
* The famous ‘‘ Cadet a la perle.” This and the preceding 
are Mason’s two most celebrated engravings. 


10 


.. 126 
4). 427 
—Y / 
c1o™. 
Feqoe 1 98 
ior, 
3 129 
es 
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ys 130 
ew 199 
ae 139 
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Pm 100. 
fo 
pow. 198. 
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fl 
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9 wr 142. 
(143 


. MORGHEN (RAPHAEL). 


. MASTER OF THE DIE. Penneus and the Water- 


gods (from the story of Apollo and Daphne); Aineas 
saving Anchises, ete. (3) 


. MEZZOTINT. Portrait, half-length of a man, book 


in hand. Proof above all letters. Folio. 


. — James I, by I. Smith, after VanDyke; Titian’s 


Son and Nurse, by J. Murphy (mounted); The Last 


Pinch, by H. Dawe. (3) 


. — A series of sixty-nine mezzotints by Watson, 


Spooner, Houston, and others, miscellaneous sub- 
jects, including The Sleepy Congregation, and 
Laughing Audience, after Hogarth; the Pen-cutter, 
and the Burgo-master, after Rembrandt; engravings 
after Ostade, Teniers, ete., comic subjects, the 
Pretty Waterwoman, A Jolly Dog, the Nappy Lad 
or Toping Buck, the Female Barber, ete. Square 
12mo. (69) 


Francisci de Moncada, in 
armor on horseback. After Vandyck. Folio. 


Time and the Four Seasons. After Poussin. 


Folio. 


. — The Family of the Princess Bariatinski (Countess 


Tolstoy, ete.). After Angelica Kauffman. Folio. 


. — The Virgin of Sorrows, after Sassoferrato; FITT- 


LER, Titian’s Schoolmaster; SMITH, The Death of 


Wat Tyler; ete. (20) 

Apollo and the Muses; VIDAL, Columbus land- 
ing in chains; PrLoty, The Last Judgment, litho- 
graph; ete. (28) 

MULLER (F.), Adam and Eve, after Raphael; and 


St. John, after Domenichino;’ MULLER (J. G.), 
Alexander conqueror of himself, after Flinck. Folio. 


(2) 
MURPHY (J.). Mezzotint. Titian’s Child and Nurse. 
Proof before title. 


MUYDEN (EK. VAN). Portrait with etching needle, 
etched by himself. Signed remarque proof. 


NANTEUIL (ROBERT). 
la Valette. First state. 


— Denis Talon. Folio. 


— [Ludovicus de Bailleul. Second of four states. 
Folio. Cut close and mounted. 


— Petrus Poneet. Folio. 

Folio. 
Folio. 
11 


Bernard de Foix, Due de 
Folio. 


—— Pierre du Cambout. 
— Hippolytus Feret. 


~144. NEW YORK CITY. New York from St. Paul’s 
! Church, 1855. Aquatint by J. W. Hill and Henry 
Papprill. Folio. Scarce. Framed. 


New York, 1855. From the Latting Observatory. 
(Drawn by B. E. Smith, engraved by W. Welstood.) 
Very large folio. Framed. 

* Colored all over by hand to resemble an oil painting, and 
title painted on margin. One of the most interesting of the 
views of New York of this period. The view shows the whole 
city south of 42nd Street. 

Winter Scene in Broadway. Colored print by 
Girardet. Folio. Framed. 


Rutgers Medical College, Duane Street. Old- 
time pen-and-ink drawing. In gilt frame. 
* A very rare view. 


View on the Harlem River, N. Y., the High 
Bridge in the distance. Lithograph by F. F. Palmer. 
N. Y.: Currier & Ives, 1852. 


149. Tinted lithograph poster of No. 26 Beekman St. 
(with Nos. 24 and 28 on each side), the business 
house. of W. L. McDonald, harness manufacturer. 

fo « elie. 

/150. —— Photograph of the Foundry and Machine Shop 

a of D. D. Badger and Co., 13th and 14th Sts., between 
Avenues B and C; also a lithograph view of the in- 
terior of the office, 42 Duane St. The two mounted 
in one frame. 

tel. The Astor House, end of City Hall Park, and 
view south down Broadway. Lithograph colored by 
hand. Ca. 1855. Framed. 


Southwest Front U. S. Court House and Post 


145. 


146. 


147. 


148. 


152. 
_~— Office. Photograph. Framed. 
153.) The Burning of Barnum’s Museum, July, 1865. 


Chromo-lithograph issued by the German-American 
Insurance Co. Framed. 


154. —— Street Markets: Mulberry Bend, original char- 
coal drawing; Allen, cor. Hester Street, original 
pencil drawing. Folio. (2) 

155. Facsimile of the Bradford Map of 1728; Fashion 
Plate, 1893, with view of Madison Square, colored; 

a The Eighth Wonder of the World, the Atlantic 

~—~Cable, lithograph, with view of New York, 1866; 
New York from Fort Lee, original etching by H. 
Bentley, 1883. Folio. (4) 


156. OGBORNE (M.). Stipple engraving, after Hamilton; 
Confirmation, Sacrament and Marriage, after Wes- 
tall, by Meadows; Meditation, by Michel, after 
Kauffman; and another stipple engraving. (6) 


12 


157. 


158. 


159. 


160. 


161. 


162. 


163. 


164. 


165. 


166. 


167. 


168. 


169. 


170. 
171. 
Die 
173. 
174. 
175. 


ORCHARDSON (W. Q.). Mme. Winchester-Cloves, 
etched by Gaucherel. Japan proof. 


OSTADE (A. VAN). The Dance in the Cabaret; The 
Orators; ete. Etchings. (6) 


—— The Humpbacked Violin Player; The Pig-killer; 
The Anglers; ete. (12) 

—— The Dance under the Trellis; The Charlatan; 
Man at the Cottage Door; ete. (15) 


OSTADE (A. VAN). The Quarrel, engraved by J. 
Suyderhoff, cut down, but early impression; Ho- 
GARTH, O the Roast Beef of Old England; Landscape 
with a family travelling (after Greuze?); La Mar- 
mote, by Audran, after Watteau. (4) 

PARMIGIANO. St. James the less. Original etch- 
ing by the painter. Rare. 

PHILLIPS (C.). Mezzotint, A Boy with a Pigeon. 
After Mola. Early proof. * Inlaid. 


PIRANKESI. Ruins of the Villa of Adrian at Tivoli; 
ROSSINI, Ruins of the Gate of Octavius at Pescaria. 
Folio. (2) 


PIRINGER. Landscapes after Rembrandt, Poussin, 
ete. Aquatints from the original paintings in the 
‘*Musée Royal.’’ Folio. (7) 

PORTRAITS. Robert: Lloyd Willoughby d’Eresby, 
engraved by Voerst. Very rare. 

Max. Henrici, Archiep. Colon, by Van Schup- 
pen; Louis Toecqué, by Cathelin; Gabriel Spizelius, 
mezzotint by Haid; Jean de Betzkoy, by Dupuis; 
ete. (20) 

— Gerard Vossius, by Matham; Petrus Molinzeus, 
by Dankerts; Nicholas Rigault, by Edelinck; Count 
Zinzendorf, and Spangenburg; Antoine Pesne, by 
Schmidt; Sir William Waller, by Peter Stent; Lying- 
in-state of Christina Augusta, by Bernigeroth; ete. 
(40) 

RAJON (PAUL). George Eliot. Proof on China 
paper. 

REMBRANDT. The Death of the Virgin. Bb. 99. 

— Clement de Jonghe. B. 272. 

— Jesus disputing with the doctors. Bb. 64. 

— The Jewish Synagogne.  B. 126. 

— Women bathing, feet in water. Bb. 200. 

— Rembrandt with a flat cap. B. 26; Three heads 
of women, one sleeping. (2) 

13 


176. 


vee 


178. 


179. 


180. 


181. 


182. 


183. 


184. 


185. 


186. 


187. 


188. 


189. 


190. 


REMBRANDT. The Great Coppenol, copy by Basan; 
The Great descent from the Cross, probably a copy. (2) 


— Jenus Lutma, and the Landscape with a cow, 
both on modern paper; Two beggars, copy by 
Deuchar; and other copies, ete. (7) 


The Three Trees. Old copy. From the Bur- 
leigh James and another collection. 
On the back is written ‘‘ Copy by Ld. Byron.” ! ! 


— The Tribute Money, B. 68; Nude woman on a 
hillock, B. 198; Late impressions, and the Second 
State of, Two Beggars Conversing, B. 164, and 
Third State of, A Negress lying down, seen from the 
back, B. 205; also, Portrait of an Old Woman, mezzo. 
by Stoelker, after Rembrandt. (5) 


— The Persian. B. 152, worn and late impression; 
Rembrandt with bushy hair, B. I; Rembrandt with 
a velvet cap; Rembrandt holding a sword, facsimile; 
Man and woman with a lantern. (5) 


— THE Synpics. Mezzotint by R. Houston, after 
Rembrandt. Folio. 1775. 


— THE CONTEMPLATIVE MAN RETIRED FROM BUSI- 


NESS. Mezzotint by J. Bell, after Rembrandt. Folio. 


wae-e 


—— BuSsT oF AN OLD WOMAN. Mezzotint by J. F. 
Bause, after Rembrandt. 1765. 


THE SHIPBUILDER AND HIS WIFE, eng. by 
Freij; Portrait of Rembrandt, by Schmidt; Rem- 
brandt in a mezetin cap, copy by Claussen; The 
Wife of Rembrandt, by Durmer; Facsimile of a 
drawing by Rembrandt. (5) 

REYNOLDS (S. W.). Mezzotints. Heron and Span- 
iel, and, Vulture and Snake. After Northcote. 
1799. Large folio. (2) 


— Mezzotint. Mrs. Molesworth, after Reynolds. 
8vo. 18283. 


ROSENTHAL (MAX). Mezzotint portrait of William 
Dunlap. Signed proof. Limited to members of the 
Dunlap Society only. 


[ROWLANDSON (THOS.).] ‘‘ Contemplation.’’ Head 
of an old woman, water-color drawing, attributed to 
Rowlandson, 5 x 34 in. 

RYLAND (W. WYNNE). Stipple engraving printed 
in red; Lady Elizabeth Grey and Edward IV. After 
Angelica Kauffman. Folio. 1780. 


SAY (W.). Mezzotints. The Marriage of Richard, 
Duke of York, and, Queen Mab. (2) 


14 


ee ee ee o 


» Cat eee eee oe 


| 
| 
. 


191. 


192. 


193. 


194. 


195. 


196. 
197, 


198. 
199. 


200. 


201. 
202. 


203. 


204, 


205. 


206. 


207 


208. 
209. 


SCHIAVONETTI. St. John the. Baptist in the 
Desert. Stipple engraving. Folio. 
* India Proof before all letters, 


Eve. St.pple engraving after West. Large folio. 
Proof. 1 


SCHMIDT (G. F.). Pierre Mignard. After Hya- 
cinthe Rigaud. Folio. 
* The engraver’s Academy piece. : 
SCHMUZER (J.). Maria Theresa. After Greux. 
SEIFFERT (J. G.). Francis I of Austria. Proof 
as all letters from an old collection with stamp. 
2 
SENEFELDER. Mars et Venus. After Canova. 
Large folio. 


* Lithograph by the inventor of lithography. Proof stamped 
by the publisher. 


SHARP (WILLIAM). Robert Dundas, Scotch Judge, 
after Raeburn. Folio. Open letter proof. 


Filmer Honeywood, M. P. Proof before all let- 
ters. Folio. 


Thomas Paine. Open letter proof. Folio. 


Interview of Charles I with his children. Large 
folio. 


Thomas Howard, Earl of Arundel, India proof; 
Orpheus and Eurydice, in three states, including an 
engraver’s proof, touched with white by Sharpe. 


SIXTEENTH CENTURY DRAWING. Battle Scene; 
attributed to Giovanni Speranza. 17 x 23 in. 


— Colored Aquatints, ete., of Drawings, by Bou- 
cher, Maratti, Guercino, Caravaggio, ete. (9) 


SOMM (HENRI). Six Pointes Séches. Proofs. With 
the original wrappers. 


STRANGE (SIR ROBERT). Venus and Adonis. 
Very fine early proof before the number. Large 
folio. 

* At the bottom is pencilled ‘‘ only four copies extant.” 


Esther before Ahasuerus. After Guereino. Folio. 


*From the collection of John Dixon, the mezzotint en- 
graver, with his autograph written at bottom. 


Belisarius. After Salvator Rosa. Folio. 
* From the Hibbert collection, with stamp. 


—— The Death of Dido. After Guereino. Folio. 
———= ane el Afters itian: «Bano: 


— The Madonna of Corregio. Folio. 
15 


210. 


WAN, 
212. 


213. 


214. 


215. 


216. 


217. 


218. 


219. 
220. 


221. 


222. 


223. 
224, 


225. 


226. 


227, 


STRANGE (SIR ROBERT). Joseph and Potiphar’s 
Wife. After Guido. Folio. 


The Annunciation. After Guido. Large folio. 


—— The Madonna with the veil. After Maratti. 
Folio. 


The Child Jesus Asleep. After Vandyck; 
Christ appearing to his mother. After Guercino. 
Folio. (2) 

Liberality and Modesty; Fortune. After Guido. 

Folio. (2) 

Justice, after Raphael; The Children of George 
III, after West; Laomedon detected by Neptune and 
Apollo. (8) 

— Venus, after Titian; Mary Magdalen, after 
Guido; Abraham and Hagar. (3) 


TARDIEU (N. A.). Juno commanding AMolus to let 
loose the winds; The Home of Vulean. After Coy- 
pel. Large folio. (2) 

TENIERS. Le Bonnet Vert. Engraved by R. Cooper. 
Fine India proof. 

Les Philosophes Bacchiques, and, La Basse Cour, 


by Le Bas; Depart pour, and, Arrivée au Sabat, by 
Aliamet; La Femme Jalouse. (5) 


TROTTER (THOMAS). The Mirror of Venus. After 
Angelica Kauffman. Printed in brown. 
* Scarce. 
TURNER (CHARLES). Mezzotint. Virgin and Child. 
After Murillo. Proof. 


TURNER (J. M. W.). Catalogue of plates of Turner’s 
Liber Studiorum. Three heliotype facsimiles. 4to, 
wrappers. Cambridge, 1874. 


Portrait of Turner, engraved by Dance. 4to. 1827. 


VALCK (GERARD). Mezzotint: David and Bath- 
sheba, after Graal. Folio. Scarce. 


VALLET (G.), The Holy Family under the Palm Tree, 
after Raphael; WATERLOO (A.), Daphne surprised 
by Apollo; DUCHANGE (G.), The Magdalen, after 
Coypel; PONTIUs (P.), Portrait of Jo. Cuyermans; and 
others, various. (9) 


VALLOTTON (F.). Paris Intense. Six lithographs 
of typical Parisian scenes. With the original wrap- 
pers. Oblong folio. Signed proofs. | 


VANDERBANCK (P.). George, Prince of Denmark, 
In armor. Folio. 


16 


228. 


229. 


230. 


231. 


232. 


233. 


234. 


230. 


236. 


237, 


238. 


239. 


240. 


241. 


242. 


VANDERNEER, Moonlight, engraved by Miller, 1766; 
CLAUDE, St. George and the Dragon, engraved by 
Lerpiniere, 1787; SALVATOR Rosa, St. John the Bap- 
tist preaching at the Jordan, engraved by Browne, 
engraver’s proof; ete. (10) 


VAN DE VELDE, Landscape with cattle, engraved 
by Simons; ROULLET, The Virgin and Saints weeping 
over the body of Christ, after Carracci; LIGNON, The 
Virgin with the Cherries; LE CLERC, The Academy 
of Sciences; etc. (25) 


VANDYCK PORTRAITS: Philippus de Gusman, by 
Pontius; Don Alvar Bazan, by Pontius; ete. (5) 


VAN DYCK (A., EtTCc.). Rubens, by P. Pontius; 
Mary I, by Vertue; Queen Anne (early). (3) 


VAN HARP. A Flemish Collation, engraved by 
I. Taylor; A Flemish Entertainment, engraved by 
W. Walker. Companion pieces. Folio. (2) 


VAN VLIET. St. Jerome, after Rembrandt; Bust of 
a Young Man in a gorget, after Rembrandt; A Beg- 
gar, original etching. (3) 


VERLAINE (PAUL). Tinted lithograph, seen from 
the back, by F. A. Cazal. No. 1 of 50 signed proofs. 
4to. 


VERMEULEN (C.). Petrus Vincentius Bertin, after 
Largilliére; Maria Luisa de Tassis, after Vandyck. 
Folio. (2) 

VICO (ANEAS). Fantastic Subject from a Legend, 
by Albert von Eyb. 1542. Rare. 


VISSCHER (CORNELIUS). The Gipsy Family. Fine 
impression of the third state, with the inscription. 
Folio. 

— The Skates, after Ostade; The Seller of Death to 
Rats, copy by Vrydag after Visscher. Folio. (2) 


—— Queen of William VI; Philip IV; Theodorie IIT; 
and Ada, daughter of Theodoric VII. Folio. (4) 


VISSCHER (C.), The Violin-player, inlaid ; The Street- 
singer; GouLrzius, The Dog of Goltzius, Bartsch’s 
second copy; VANGELISTY, Vieille Flamande, printed 
in red. (4) 


VISSCHER (JANE DE). Abraham van der Hulst, 
Dutch Admiral. Folio. 


VORSTERMAN (LUCAS). Carolus de Longueval, in 
armor, after Rubens; Martyrdom of St. Lawrence, 
after the same. Folio. (2) 
' L? 


243 


244. 


R45 


254 
200 


256 


257 


258. 


259 


260 


. WASHINGTON (GEORGE). Mezzotint portrait by 
J. A. O’Neill. A Proof Before All Letters, and an 
Open Letter Proof, both on India paper. (2) 

* A private plate engraved for William Menzies. 

— Ten various portraits of Washington, including 
an Open Letter Proof by Fenner, Sears and Co., an 
India Proof by W. Holl, a Miniature Portrait on a 
pedestal, ete.; also two engraved portraits of Martha 
Washington and nine portraits of Gilbert Stuart, 
John Trumbull, ete. (21) 


. WATSON (J.). Sir Jeffery Amherst. Mezzotint after 
Reynolds. Folio. 


. WELY. A French river, with sailing barges, at sun- 
set. Modern French lithograph in colors. Proof of 
a limited issue. 


. WILLE (J. G.). Instruction Paternelle, after Ter- 

burg. Folio. 

— Gazettiere Hollandoise, after Terburg. Folio. 

. —— Sceur de la Bonne Femme de Normandie. 4to. 

. — Tante de Gerard Dow, after Dow; Maitresse 
d’Ecole. (2) 

. — Repos de la Vierge; Portraits of Frederick II 
and Joseph Parrocel. (38) 

La Liseuse, after Dauw; Louis Phelypeaux, 

Comte de Saint-Florentin; ete. (5) 


. WOOLLETT (WILLIAM). Calypso’s reception of 
Telemachus and Mentor. Large folio landscape. 
Fine open-letter proof. 1824. 


. — The Fishery, after Richard Wright. Folio. 
: The Devil’s Bridge and Valley of Lauterbrunn, 
Switzerland. (2) 


. WOUVERMANS. Reste d’Armée Decampée; 
L’Ecuyer du Manege; L’Abreuvoir Flamande; ete. 
Folio. (4) 

. YOUNG (JAMES). Mezzotint. The Battle of Chevy 
Chace. Large folio. 1814. 

Mezzotint. The Surrender of Calais. Large 

folio. 1817. 


. YOUNG (JOHN). Mezzotint. Interior of a Stable, 


with a donkey and two figures, after Morland. En- — 


graved 1804. Rare. 


. PORTFOLIOS OF PRINTS. Three large portfolios 
containing about 1,000 miscellaneous engravings, 
portraits, ete. 

18 


PAINTINGS BY BIERSTADT, LE BARON AND HUSENETT, 
A. LAUX AND OTHERS. 


Paintings. 


261. BIERSTADT (A.) Bay by Moonlight. 
Canvas. 
Height, 18 in.; width, 23 in. 


LE BARON AND HUSENETT. 


262. LANDSCAPE. 
(W ater-Color. ) 
Height, 10 in.; width 15 in. 


HAMLET. 
Poster. 
Height, 23 in.; width 10 in. 


— ROLLANDI. 


263, ARTIFICE. 
Canvas. Signed. 
Height, 20 in.; width, 14 in. 


UNKNOWN PAINTER. 


264. STUDY OF MELON AND FRUIT. 
Panel. 
Height, 16 in. ; width, 18 in. 


R. V. GREGORY. 


265. ITALIAN STREET SCENE WITH FIGURES. 
Canvas. Signed. 
Height, 35 in.; width, 14 in. 


Ae PA) oe 


6266. IN THE SHEEP STABLE. 
Canvas. Signed. 

. Height, 12 in.; width, 16 in. 

‘ 267. WATER-COLOR. Lake Como. 

Unsigned. 

10 x 21 in. 


268. STERNER (ALBERT). Eleanor. 
Painting in monochrome. Signed ‘A. KE. S.”’ 
Cherry frame. 


ee a a te, eg 


19 


269. 


270. 


aul. 


272. 


273. 


274. 


Q277. 


278. 


2719. 


280. 


281. 


HAMERTON (PHILIP GILBERT). The Castle. 
Original oil painting by the eminent art critic. 
Signed in the lower right corner. Oak and gold 
frame. 


W ASHER- WOMEN. 
Original oil painting. Signed in lower left corner 
and dated 1878. Oak and gold frame. 


DAY (F.). The Girl with the Cigarette. 
Oil painting. Signed Francis Day. Gold frame. 


RIVAS (A.). In the Harem. 
Two beautiful girls reclining on a couch near a 
pool, with swans. Signed toward the lower 
left corner. Gold frame. 


Framed Engravings, Etchings, &c. 


ANDREA DEL SARTO. Cherry frame. St. John 
by Domenichino. Oak frame. 
Two pieces, one lot. 


APPIAN (A.). A Road Leading to the Village of 
Artemar. 
Proof on Japan paper. Mahogany frame. A 
Country Road. Proof on Japan paper. Mahog- 
any frame. (2) 


. BISMARCK (VON). Etched portrait by Leubach. 


Folio. 


. BOCKLIN (ARNOLD). Villa am Meer. 


Photogravure, in colors. Mahogany and gold 
frame. 


BOLSWERT (SCHELTIUS A.). Silenus. 
After the painting by Van Dyke. A fine impres- 
sion. Black frame. 


BOTTICELLI. Spring. 
Cherry frame. WATTS, Daphne. Oak frame. 
GIORGIONE, Head of a Man. Chestnut and 
bronzeframe. (3) 


BROOK (THE). Facsimile of charcoal drawing. 
Mahogany and bronze frame. 


CAMERON (D. Y.). Perth Bridge. 
Original Etching. Proof on Holland paper. 


Arran. 
Original Etching. Proof on Holland paper. 


20 


ol i ee 


282. 


283. 


284, 


285. 
286. 


287. 


288. 


289. 


290. 


291. 
292. 


293. 


294. 


295. 


298. 


CHAMPNEY (J. WELLS). Psyche. 
Signed artist’s proof on Japan. paper. Bronze 
frame. 


CHURCH (F.S8.). A Cold Morning, Sir. 
Original etching. Signed artist’s proof on satin. 


CLAY (HENRY). Clay addressing the Senate. Mez- 
zotint by Whitechurech after Rothermel. Folio. 
Proof. 


CONNOISSEUR (THE). After the painting by For- 
tuny. Proof on Japan paper. Oak frame. 


DANCING LESSON (THE). In colors. Black frame. 


DAUTREY (LUCIEN). The Gleaner. 
After the painting by Jules Breton. Mahogany 
and bronze frame. 


DECHAMPS. The Village Street. 
Remarque proof on vellum. Gilt frame. 


DETAILLE (EDOUARD). Cavalry Man. 
Facsimile, in colors, of the original water-color. 
Gold frame. 


EDELINCK (G.). The Fight for the Standard. 
After Leonardo da Vinci. Oak frame. 


GAMBETTA. Portrait by E. R. Greenough. 
Lettered impression on Holland paper. 


GIBSON (C. D.). Girl Standing, after Gibson. 
Drawn by J. Victor. Ivory frame. 


GILBERT (C. A.). Her Portrait. 
Original drawing. Signed by the artist. Black 
and gilt frame. 
GUERARD (HENRI). Head of a Fisherman. 
Signed artist’s proof on Japan paper. 


HALS (FRANZ). The Gypsy. Mahogany and gilt 
frame; MORONI, Portrait of a Tailor, Mahogany 
frame (unglazed); Head of the Madonna, after MU- 
RILLO. (3) 


. JACQUE (C.). Pastorale. 


Proof before letters on India paper. Oak and gilt 
frame. 


. KELLAWAY (G.). The Bower of Venus. 


After the painting by Richard Westall. Beauti- 
ful impression printed in colors. Gilt frame. 


KOHLSCHEIN (J.). St. Cecilia. 

Line engraving after the painting by Raphael. 
Open letter proof on India paper. Oak and 
bronze frame. 

21 


299. 


300. 


301. 


302. 
303. 


304. 


305. 


306. 


307. 


308. 


309. 


310. 
1d 


312. 


® 


LA BELLA. Line engraving. Proof before all let- 
ters, before the title, before the names of painter 
and of engraver. Black and gold frame. 


LEGROS (ALPHONSE). Les Pestiférés de Rome 
(Malassis No. 60.) 
Proof on India Paper, mounted into plate paper. 
Fine impression. 


LELOIR (LOUIS). <A Bravo. 
Proof on Japan paper. 
The etcher’s best plate. Oak frame. 


LEONARDO DA VINCI. Mona Lisa. Oak frame. 


LLOVERA (J.). The Model. 

Proof before letters on Holland paper. Oak frame. 
The Mandolin Player. Proof on Holland paper. 
Cottage by the Lake. Etched by Brunet-De- 
baines, after Corot. Mahogany frame. (8) 


LORICHON (C.). The Mystie Marriage of St. Cath- 
arine. 
After the painting by Correggio. Fine impression, 
bearing the stamp of the engraver. Margin has 
been trimmed. Small margins. Black frame. 


LOS RIOS (R. DE). A Prelude. 
After Charles Sprague Pearce. Signed artist’s 
proof on vellum. Signed by both painter and 
and engraver. Bronze frame. 


LOWENSTAM (L.). A Quiet Hour. 
After the painting by Alma Tadema. Signed re- 
marque proof on Japan paper. Signed by both 
painter and eteher. <A white and gold frame. 


MANLEY (T. R.). Signed Proof Etching on Japan 
paper; LAFAYETTE, lithograph portrait. (2) 


MELLAN (CLAUDE). Title-Page for Les Amours de 
Tristrau. 

First state, before the letterifig upon the scroll. 
From the Camberlyn Collection; also the second 
state, with the lettering. From the Pierre 
Mariette and Camberlyn Collections. Impres- 
sions of the finest quality. (2) 


NICHOLSON (W.). Sarah Bernhardt; Whistler; 
Queen Victoria. Black frames. (3) 


PHEASANTS, after Barlow; Herons, after Barlow. (2) 


PIRANKSI. Part of the Villa of Hadrian. 
Fine original impression. Black frame. 
— Ruins of Nero’s Aqueduct. Folio. 
22 


313. PROT. La Génie de Pan. 

After Giulio Romano. Stipple engraving, colored. 
Black and gold frame. 

314. RAPHAEL. Sistine Madonna (a portion only). The 
Mother and Child (half length). Mahogany frame. 

315. REMBRANDT. A Portrait of Rembrandt ina Fur 
Cap and Mantle. 

From the painting in the Hermitage. Oak and 
bronzeframe. Rembrandtina Flat Cap. Photo- 
gravure enlargement from Rembrandt’s etching 
‘*Rembrandt Leaning on a Stone Sill.’’ Oak 
frame. (2) 

316. RIVERLET (THE). Sunset. . 

Original monotype, printed in colors, signed, on 
Japan paper. 

317. SADD. Queen Victoria; Prince Albert. Engraved 
after Chalon. (2) 

318. ST. JOHN AND OTHER CHILDREN AT PLAY. 

Gold frame. 

319. SCHMIDT (G. F.). Portrait of Rembrandt. 

Etched in 1763. Black frame. Portrait of Rem- 
brandt. After G. Flinck. Etched in 1765. Black 
frame. Portrait of John Conrad Ulmer. Line 
engraving. Black frame. (3) 

320. SMILLIE (JAMES). The Voyage of Life—Old Age. 

After the painting by Thomas Cole. Original im- 
pression in an interesting contemporary gold 
frame. 

321. STEINLEN. At the Street Corner. 

Original charcoal drawing. 

322. STRANG (WILLIAM). The Tinker’s Repast. Proo’ 
on Holland Paper. The Potato Gatherers. Proof on 
Holland Paper. Wine and.Folly. Proof on Holland 
Paper. Together with Vase Hispano-Moresque. 
Original Etching by Jacquemart. (4) 

323. UNGER (W.). The Tribute of Venice. 

Proof before all letters. Gilt frame. 

324 —— Portrait of Rembrandt. 


After Rembrandt’s own painting. Open letter 
proof on India paper. An Old Man with a Fur 
Cape holding a Bowl. Proof before all letters 
on Japan paper. (2) 

23 


320. 
326. 


327. 


328. 


329. 


VISSCHER (C.). The Sleeping Cat. 
One of Visscher’s favorite plates. Oak frame. 


WALTNER (C.). The Gilder. 
After Rembrandt. Oak and bronze frame. 


WILLE (J. G.). L’Observateur Distrait. After the 
Painting by F. Mieris. One of the engraver’s pretti- 
est plates. 


DORE (GUSTAVE). Death of the Christians. En- 
graved by H. Bourne. India Proof. Large folio, 
framed. 


GEROME (J. L.). Golgotha. Engraving by H. 
Kechens. Large folio, framed. 


€ 


Toko P eg ,2aunc 
TLAP3 7=D3 ee 


The New Galleries of The Anderson Auction Company 
Madison Avenue at Fortieth Street 


DOVGLAS TAYLOR & CO., NEW YORK 


